Original subtitles

It's just me!

That's what's true!

I've got everything else to go on.

Listen to the words, it talks about people that either

can't forgive or the people that die unforgiven by others.

Ahhh!

In B.F.S.L.

Live Free.

Parents don't think anything about Metallica, they just ignore it.

And the said man!

And finally someone in the middle saying something right.

Try!

Oh, just fucking reality.

You know what I'm saying?

Reality, I'm saying.

Hey, hey, hey, hey, hey, hey!

Oh, oh, oh, oh!

I want you listening to Metallica in the album, sort of fucking 80's.

This is a man who was guilty in his mind, he always

holds the key but he doesn't know how to release himself.

So, he's not in prison by anyone bloody himself.

Probably Laura for our new room.

Just the fact that it's a bug.

Not even after you die, you can hopefully go on, you know.

Well... Now I'm gonna talk about that... Now you will scoot your time!

Do something about this project from the day that we started writing Sandman that

just... it felt like a motherfucker.

Well the songs we had required a bit more simple, a little more to the point.

We realized that we needed a little more

thickness in the sound, a little more muscle.

The recording studio we recorded this album was in North Hollywood called One on One.

And we went in October, October and we didn't walk

out of that place till sometime in May or June.

I know it's kind of blurry now.

James, you're still thinking of maybe using some kids on the middle section?

Just wanted to do which part before you come in with a low voice?

Yeah, it's that whole section where it's in the heat.

And then it goes up?

That's like a dad teaching his kid back.

So I got the idea that I'm teaching him to him.

He's in the same old line of this kid.

It's gonna be real cool.

So it was just like, you know, a little bit like building a house.

If you have a good foundation, then I remember, yeah, I'll be there pounding away.

The other guys will be around the drum kit banging

away and there'll be all this energy coming from it.

Keep the dynamics kind of cool on the hi-hat though.

Just like in terms of the backbeat.

You know, the big backbeat that Lars Ulrich can kind of snap on the old snare.

Whoa!

Lars, you make the next couple versions a little more peppery off the top.

A little more weight into it.

If you want weight on your fucking guy.

Oh, wait for it.

Maybe just wait for it.

Yeah.

Yeah.

Get what?

Jesus.

I would like to eat a lot of jokes as long as they're as low as fine.

There you go.

I think we kind of all fessed up to the fact that we just needed to bring somebody

else into our tightly knit organization and work with us in the studio.

And the only name that I ever came up was this guy named Bob Rock.

So me and James stood up to Vancouver hung out with him for

a couple days and it was like the vibe was there right away.

One of the first days I ever did.

It's a band called The Subhumans.

Dimwit was the drummer.

I think it was Brad Kunt playing guitar.

No, Brad Kunt was in rabbit.

Jerry useless.

Went to jail for 20 years for Anaker.

You blew up a B.C.

Hydro substation here.

Shithead was D.O.A.

Who was the guitar player?

Oh, Subhumans, fuck.

And then I did the point in sticks.

I did the dills.

Young Canadians, the K-Tales.

They did, let's go to fucking Hawaii.

See you, lover boy.

Oh, what's that, Rand?

The Motori crew.

Motori crew.

Motori crew.

What's that?

We're going to have to leave now.

Well, we can't really write songs together.

Over the tour, basically, just get riffs here and there.

Bring out the four-track.

I got this Fostex four-track that I've had since 84 or something.

There's, you know, ride the lightning riffs on it, you know.

Just got to hit certain buttons just right.

Also.

For instance, the main riff in Sandman was just something that I wrote one night,

you know, three o'clock in the morning.

That's how I come up with a lot of the stuff that ends up on albums.

It's like jamming through the clock in the morning.

And when it came time to start, you know, getting songs together,

it's always called me up and said, hey, this is a great riff, you know,

on your taping.

Oh, what are you talking about?

He played to me over the phone.

Oh, yeah, I remember that.

That was only like the second or third time I'd ever listened to it.

Now, now, now, now, now, and then the tail on it.

I suggested that he do like three of those.

And then the tail.

I come with it on guitar, mandolin, or bass or whatever.

This idea and you just put it on tape.

And then later on, somewhere down the line, it'll be six months, six days,

six hours later.

Change usually, like, you know, it contributes mostly music.

And as long as it contributes, like arrangement ideas and such.

And then we'll all come in and see how it feels.

Four of us playing the song.

Sabotruz, at least the title has been around for a long, all time.

I struggle within has.

Enter Sam, man, I think has been around the longest.

You know, everyone's going, what the hell does that mean?

So, 120 kicks in, 121.

And then back to 121 for when that Tom says he's coming in the middle.

120 guitar, only 121 when it's done.

Yeah, 120 when it's on.

There was this guy that we'd known for maybe two days or something and he comes

into the rehearsal room and we're playing these songs, you know, and he's got a

timer and he's writing down these notes and all that.

He'd say, well, maybe we should do, you know, he'd take that a little bit longer.

You know, there's too much E all the time, and there's this and that, and you should

do F sharp there or something, you know.

And James, his music is his heart, you know.

You don't, you don't fuck with it.

And so it was kind of weird for him, I think, the most.

Because he, not that he'd really say a whole lot of words or anything.

But the guy would say something and he'd kind of like,

you know, he could like burn a whole lot with his eyes.

He's like, what are you talking about music, you know.

And eventually, we try the idea and it's a lot of the time it'll work.

Because Bob has amazing musical vision and, you know, foresight is really cool.

Is there a stage gear for Europe?

It's not going to be in there.

We could send, like, exit us.

A day in the studio.

Well, a day in the studio was actually, it's pretty nocturnal.

There's no fucking windows there.

You can't tell what the hell time of day it is.

As far as the drum tracks, Lars likes to work at night.

Sleep all day.

And I'm pretty much the opposite.

That was the Hollywood way, wasn't it?

Come on, chicken.

Come on, chicken.

We'd say, you know, okay, we'll come into three in the afternoon and, you know,

I'd be there.

I understand they're paying white lines on the

fucking road, so they say you can't drive there.

But they don't actually put anything there to prevent you from driving on,

like, fucking nails or anything.

Okay.

Good enough for fucking us, isn't it?

Beautiful.

There he'd get there at four, then have to eat,

and then he'd take a nap, and then the fucking...

Those troops are waiting for that board to attack, but the automatic blitz may have

put that all over a while before they're changing it.

You guys know, Jay, where's the black stuff in the glass?

The horses are right there.

You've got to push it.

You've got our foot stuck in the glass, and you're far somehow, Lars.

You know, it wouldn't be until seven, he'd get a stick in his hand.

Whoa!

Any other drivers out there?

Where's that fucking one truck?

She ran away again.

Hey, Bob, you're a rock drummer.

It's like 80s later on.

Show me some pay-all the risk, man.

What?

I've got a phone call.

It's a fuck out of here.

It's just fully clean.

You know, it's basically start whenever certain people were ready to go.

Hurry up, Lars.

We've got to get these first four drum hits.

Show me the phone.

All right, let's go.

All the cameras on.

Oh, let's go.

Let's go.

Here's a picture.

Do you remember that part?

Yeah.

Where's your cake?

I don't know.

Whoo!

Fuck, am I ever excited here?

Okay, let's rock.

It's fucking two o'clock in the morning.

There's nobody in LA right now is having any fun.

They're all in bed.

We're here, so let's fucking rock.

It was quite good.

It was a little ragged part-wise, though.

You know, you were missing cymbal crashes.

I have my first set patterns.

I'm very, very moody.

I'm sure the other guys might told you.

Oh, Jesus.

Wow.

I'm very, like, vibe-oriented.

And this time around, I just wanted to get more of a kind of a swinging, kind of just

rhythmic, kind of some shit going on back on the drums.

You want to hear it with vocals?

Go sing it.

No.

My throat is really fucked up right now.

Okay.

I wouldn't ask you to do a drum roll if your arm fell off.

I'm sorry, I'm sorry, I'll laugh.

The vocal line goes exactly with the guitar.

One verse and one verse.

All that.

You can't play the song without me.

No, it isn't, but I think James made himself quite clear.

I don't give a fuck.

Sure.

Let's do it.

James fucking blow your voice up, man.

Oh, man.

And then Lars won't have a vocalist at all tomorrow to fucking cut his track.

Well, that's two of the whole songs.

If you ever need a drum roll, then you can figure out... Ever need a drummer?

If you ever need a drum roll to figure out a vocal line, then you won't be able to...

That'll happen.

Putting the drum tracks like that was inspirational in that

we all played together, just like we would at rehearsal.

And everyone was going off to a separate track.

But Lars' drums were going on to the master.

Hey.

Everyone had to put up with drum tracks, which are always really fun.

So I wasn't the only one in living hell.

What?

We'll keep playing for a while at the beginning.

What?

We'll keep playing the live series and we'll have to drop it in tomorrow.

That's gonna do it anyway.

You're gonna sit and fiddle with it tomorrow anyway.

Right?

I'm about to do it live and do it tomorrow.

So if we keep playing, I feel like guys can do shit, then we'll have to do it.

I can drum solo.

Okay.

I love the song that's done again.

Well, I'm totally confident in you, Lars.

At least somebody is.

So it goes down, down, down.

Down, down, down, down, down.

Got, got, good, got, boom.

Let's just kind of imagine that when you're playing it again.

You know what I mean?

Oh, I see.

It's going up.

It's coming up.

We're going to take like 25 minutes here and

change the snare hand and do another set.

Okay?

Do you feel like I'm all over the place?

Do I know?

I can usually tell when I start.

I'm not saying they're all over the place.

I'm just saying the overall feel is in this way.

Yeah.

But that's going to do a lot to do with the other three things.

Also, I think it's got a lot to do with it.

So there you go.

We'll just turn up the snare and we'll do it one more time.

And then it's going to be all over the place.

The whole thing was positive as far as everybody playing together.

Except sometimes when it would take maybe a few

too many takes and we would get a little upset.

But that's going to happen.

You know, going through a song 20 times in one day.

Never see it.

Won't see what might have been.

But I feel it.

But I've known.

Never shine to one where I've shown.

Never free.

Never me.

So I don't think it's good.

They did it.

Keep their lives.

Running out of hills.

He tries to cleanse them all.

This bitter man heals.

Throughout his life the same.

He's battled constantly.

This fight he cannot win.

A tired man they used to see.

No longer cares.

The old man they prepared.

To die regretfully.

That old man they could see.

When I felt what I've known.

Never shine to one where I've shown.

Never be.

Never see.

Won't see what might have been.

Never felt what I've known.

Never shine to one where I've shown.

Never free.

Never me.

So I don't think it's good.

Never be.

Never see.

Won't see what might have been.

Never felt what I've known.

Never shine to one where I've shown.

Never free.

Never me.

So I don't think it's good.

So I

don't think it's good.

Never be.

So I don't think it's good.

Never be.

That's the live version.

Getting rid of the live version goes into a big jam right there.

Huh?

I can really hear that like 15 minute fucking

guitar sold me, wailing right there at the end.

I can see that too.

I can see that too.

I can get the support out to come on and play

with my 5 guitar players like the Outlaws.

We only just get some people out in the audience like you two did.

Hey, you play guitar, hey, you play guitar, hey, you

just sound so good because you don't sing it all.

I really like playing in the solo.

I really like everything you play.

I'm going to play in the solo.

Thanks, bro.

You played the solo.

Fucking heck.

So, just kind of... where do you go?

You're sure it's the fact that this is our last drum track?

You're sad, Mars.

I'm a little sad, yeah.

I'm having a really good time.

And I know what everybody else is.

I know I speak to everybody else.

You can tell the vibe.

The vibe is quite serious.

Big song.

Big song on the record, just for the vibe.

John Smith, he was.

This is what we work.

Come on in.

Great, man James, listen.

He came down the studio with his family.

He'd been diagnosed with cancer and he'd been going through already and making all

therapy treatments and all that kind of stuff.

He was a huge Metallica fan, and I think it was through the Make-A-Wish Foundation

that his wish was to come and hang out with Metallica.

Yeah, probably more of your guys' music than anything else.

If I can't play at all, I can always play a piece of it easily.

I'll try it out.

I don't... It's kind of hard selling stuff, you guys.

We can't even play it if I'm sales.

It's crazy.

Man, I can't...

I remember playing the song with him and looking over at him.

He had his guitar and his playing, and God, that kid was in 70.

I mean, it was great.

I'd like to think that we helped in a small way to

give him a little bit something more to fight for.

And that was a good day, good feeling that day.

We wanted to concentrate a little more on the vocals.

Hey, is this on?

Never really took the time to do that with any of the vocal stuff.

Let's double that.

It's pretty good, but it just needs a little more soul or character.

A little more head feel than that.

Never shine in doing what I've shown.

Never free.

Never me.

So what of the unforgued?

Or vocal-wise.

We tried a couple different things that I hadn't done before.

I would do basically what Lars was doing with the drums.

It was a master of track.

If a word was wrong or out of key, we'd punch in that word or whatever.

Which was a lot easier.

So let's get it.

Never shine in doing what I've shown.

Never free.

Never me.

So what of the unforgued?

One more time.

Just gotta get the end forgiven again.

There we go.

Never free.

Never me.

So what of the unforgued?

That's a fucking great picture.

You are the coolest one.

Thanks, dude.

Lars Ulrich's favorite magazine because it has large breasted.

He also likes the best of busty, which comes out annually.

You didn't bring any magazines for James.

Yeah, I did.

Oh, no.

Tore so honcho inches.

It's Bob Rocky's to read this while they were making a slip ribbon.

She left it here when she was here last time.

These are Jason's magazines.

Uncut and play guy.

In fact, there's an ad for the studio in here.

There's an ad for the studio in Uncut.

You wanna watch this Madonna pornographic video?

No.

Well, why do you bring all this stuff by?

Go to the road, Ben.

Go from the top.

Let's do this first verse.

See your friends, little one.

Just try it like that.

See your friends, little one.

Don't forget my son.

I'm having fun here, okay?

This is fun, James.

Yeah.

Regular voice.

Keeping one eye.

Yeah.

Keeping one eye open.

Same delivery.

Sleep with one eye open.

Cool, let's do it.

Let's do this track.

I'll talk to you in one within.

Keep you free from sin.

Till the same man will come.

That's it.

Please.

Oh, Mike.

She's actually doing that.

Don't do this.

That's just the FBI warning.

Look at that.

That's as close.

No one.

There's not a bush you'll ever see.

This is Madonna's new image.

It's great.

Madonna, Rodica.

Madonna always takes chances.

It's so good.

Look at this.

The tent of doom.

For guitars.

To kind of keep the close crunch.

You know, the tightness.

We had to build this kind of a tent thing.

It hurts you basically some foam walls and some U-Haul blankets and, you know,

all that.

Not that I like.

He does get that head feel God's out.

Hey!

Okay.

Oh, God.

Oh, God.

We were thinking of all our sounds.

Especially guitar-wise.

You know, is these little more down here or, you know, a little mid-crunch?

You know, he's exactly kind of what I was looking for.

I think his step-brother played drums and they

would have a little band out in the garage.

I think he got inspired by that.

Everybody starts out in the garage and either

it fades away or it becomes something good.

Well, he originally started him on the piano when he was little.

And his sister and him both took and he ended up with a guitar.

A good friend of his, like, guitar and taught him how and I think he did a nice job.

But just listening in there, what you were cutting

and he's really improved in the guitar playing.

And instead of the power chords, I think he's

getting into a little instrumental and good guitar.

I like that.

Music

They're robbing James over there doing James's shit.

And then they have this closet down the hallway.

Now I'm sitting here listening to all the takes off the floor.

I'm trying to make some basic notes and trying to, you know, just get an idea of

where the best performance is and where the best shit is from the takes.

Music

I have asked Secretary of State Baker to request the United Nations Security

Council The other part of the process of getting

the drums together is the drum editing part of it.

You sit down and you got, you know, 20-30 takes of songs.

Go film him or something.

Go see C.

That's what he's doing.

Now he's putting pieces together.

Isn't that exciting?

Basically, Randy Razorblade, a brilliant engineer.

He would then basically sit and like cut the tape together.

You know, that way you find the bits that have the most

spunk and the most vibe and the most attitude to it.

We have about 250 fills for this song.

If we know any money that needs a couple.

Yeah, if you know anybody, yeah, we have drum fills for six.

We could have used some of these fills about four months back.

That's Jason.

Yeah, we gang up on Bob Rock.

We got Paul, he had a name check.

You were just one of the violas.

That was the final thing.

Yeah, they thought since we were so, you know, we didn't get anywhere.

Basically, so they thought, well, let's make this guy the front man.

And I'm sure all the chicks will go fucking gaga after they see him.

Consequently, it didn't work either.

Bob used to be a woman.

Look at the tough guy.

Nice hair color.

Did you read that?

Bob Rock looked like 10 years ago.

Notice only one chin.

Whoa.

I'll come.

I'll come.

This guy's on the side by himself.

Was he like the leader over there?

Yeah, he's the leader.

He told you what to do?

That girly looking guy?

That's bad though.

No fucking way.

You look like my mom.

Good thing there's no record player here.

Ells had get really ugly.

I think you can put him down now.

He's kind of like that.

Take a sound, man.

We're mobile.

Yeah, you know, everybody talks about his cell now.

I'm thinking that we've done it and we can't write music anymore or not.

They're going to find out if they can't predict what we do.

There you go.

Hey, man.

This thing's soft.

What?

It's a fucking jab.

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

I was wanting to play bass.

A lot of it was done with an amplifier.

You know, I had one bass and it was an electric bass.

And whatever I happened to be, I just, you know, and I'd have to hear it.

So I'd hit it really hard being the crap out of it.

Now it's part of my style when we play.

Bob and Randy couldn't hear the actual noise that was coming out of the speakers.

The pick sound on the bass was interfering with

what they were hearing from other speakers.

So they had to put a wall of foam in front of

me so that they didn't hear the pick sound.

They only heard the bass sound out of the speakers on the front.

After the wall of foam there, guys.

It takes ten inches of foam to get him back.

He's a toughest guy.

On this album, we really went after a rhythm section, an actual rhythm section,

like it's supposed to be.

Like everybody else has known about for a long

time, but we're just now realizing it or something.

Lay back that back beat.

Wait for it.

There you go.

Well, let's straighten out this part.

Now that all the fucking big brains are here.

Um, let's put one of that in.

What he's going to play over the rim.

I don't like it.

Because it mimics the part that's coming right after it.

That's why I like it.

That's why I do like it.

Really?

Really?

I mean, we can do it that way.

I think it's ignoring the dynamics of the song.

That's what I'm saying.

You're ignoring it.

Even your toms don't come thundering like...

You know, they're coming in like, kind of... Yeah, that's what I'm saying.

The bass should be with them.

Right, maybe doing the same part, but just not fucking...

That's what I'm saying.

Begin right into the groove.

Okay, Jay.

Okay,

let's try this, Jason.

Okay!

We went through a bunch of different basses in all different configurations of fliers.

And Bob just helped me along the way and saying, you

know, what is the bass sound that we're to achieve here?

What's going to work with the guitars?

What's going to work with the bass drums and not kill them?

That's the huge bucket lick.

Because the guys in anthrax are megaphone.

I just like teased them so much if it was melodic and nice, right?

Where's my goddamn food?

This is fucking home.

This is crazy, Metallica.

Yay!

What?

Look!

We won!

There's headphones.

Stone Cold Crazy, Metallica.

Ooh!

I'm excited about going to do some singing back over.

I'm real excited.

I got a chill.

I think everybody kind of got a little burnt in LA.

Bob really needed like just a change of like...

I got to say, just about right.

Just surroundings for like a few weeks.

I want everything to stop.

So I went up to Vancouver for a couple days.

I would sing some songs and do you know, little guitar things here and there.

I was right across from the strip joint too.

It's nice to be in Vancouver out of shit, whole LA, but...

That's the things to do at night.

It's a real good Vancouver Tuesday.

Catch the evening shift at the five.

That's the number five orange strip club down the street I was telling you about.

Yeah.

We're working all the time.

You wouldn't know about that.

If you sleep, wait.

I'll never go out with you.

Hey, fuck it.

Hatfield.

I'm always here.

Shut the fuck up.

What the fuck?

He's here.

It's the harder you go.

I'm going to come in out here and fuck it.

Look at that tree.

No.

I'm tired of this nature trip you've been on.

Everything starts at eight p.m.

Brother.

Turn it down.

Can't try this dressing.

Can't fuck around anymore.

That's hell.

It got fun actually for a little while in the studio.

Experimenting the things.

I would try a bunch of different shit, you know.

Certain amps like old dang it.

Supro.

Jimmy Page was using his shit.

Some 12 string stuff.

You know, a sitar thing on a...

where I may roam home.

That's a cool thing about guitar.

You can kind of get in the wild with it.

That's a cool thing.

Those are fine.

It's just going back to the D.

It was a little frost.

Fucking well.

Fucking well.

Fucking well.

Fucking well.

Fucking well.

Let's

listen to both of them and decide which one sounds best.

I think that's what we should do is we should do the frown.

And then we should try and get something that is a little more...

got a little more different sound.

So it really sticks out maybe even like the Leslie 12 string.

That's why we talked about yesterday.

Dang!

I put it into my shirt.

This was a white shirt when I came in there this morning.

Oh God!

Do my work!

Do my dirty work, scapegoat!

Do my feet!

You're the one who saved!

A James and Bob flew up there.

Did some vocals, guitar with dogs and stuff.

I came in towards the end of it and helped along with a bunch of production things.

It's game this fall, Lars.

It's game this fall, man.

Get the fuck out of here!

I'm here.

Let the recordings begin.

Everything that's been put down in the last four days, you can erase it.

I'm here.

Let the real shit start.

You lost your ticket?

They make you bend over, man.

They're going to you're the head field guy.

We didn't get him, so we're going to get you instead.

Oh, yeah.

I got an idea.

Whoa!

So where we going?

She didn't.

Ow, I don't have it.

Hey, what's the jack?

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

Whoa!

All right, from the warm service.

The challenge is better, do you?

One white.

One white.

Close, but that wasn't quite.

Two.

One white.

One white.

One white.

It kind of got to me last night.

It kind of sounds like Emerson making proper, isn't it, right there?

Hi, Lars, huh?

It's a happy we're in the digital age, huh?

It's great.

I can't wait to go on and play drums.

That's the next stop.

We just got to play more.

Show him the songs.

We'll go out and drink and come back three months later and the album's done.

That's it.

That's it.

I'm coming to the studio one morning.

There's a fucking table, like from here at Gibraltar, that has like, you know,

like, just tamperines and wood things and shit and things like, you know,

just shake and, I mean, just things and just hit

with sticks and with iron and things like clap.

I mean, just any kind of sound you could ever imagine.

You've got five, six songs.

As far as I'm concerned, they're like, we're here to be classic.

For both you guys, you're a fan, but also on the radio.

But the first song off this album that you come out is all your own now.

Now, you know, how six after you've done the solo and even...

I've been able to think about it.

But also think of the impact that that solo was just over the band in a bit.

It was a total flatter.

And then you came back and then there was another little bit of vocal.

And the guitar thing, the guitar thing, the guitar.

That's who you're going to have.

It feels out.

Ideas for guitar solos can come from anywhere.

I mean, from any instrument, from any sort of rhythm, from hearing a piece of music,

like maybe classical music, and you'll hear a little melody and you'll think,

that would go really good in a guitar solo.

I think probably what it would probably end up

being is maybe that with a Marshall or something.

Okay, let's try it.

We're going to try everything all at once.

Turn everything up and play that way.

Okay, let's try another guitar.

More crappy fucking photos with some help.

Now I lay me down to sleep.

Now I lay me down to sleep.

Pray the Lord, my soul to keep.

Pray the Lord, my soul to keep.

If I die before I wake.

If I die before I wake.

Pray the Lord, my soul to take.

Pray the Lord, my soul to kick.

What did I do wrong?

That doesn't work.

Excellent.

Yeah, that's better when you don't breathe.

It's better when you don't breathe.

It's got a little more anxiety to it.

Let's don't do it.

Yeah.

At the end.

Do something else.

Womow.

Okay.

Here we go.

I'll work out a few things.

Then go over to the studio.

And check my guitar sound.

Make sure it's the same sound that it was the previous

day, because things have a way of changing overnight.

You know, mics get bombed, you know.

So it might tweak as a knob or something.

Invertantly.

Sound isn't great.

Speakers battling.

So they're out there texting right now.

I mean, it sounds good, but I can hear the rattle.

When we played on solo.

That speaker is not happening.

Why don't you try hooking up the small one?

James fucked it up.

The small one.

How do you do that?

Play through it?

I can't believe it.

Oh!

I got shot!

When I touch that, I get shot.

Don't touch it.

Okay.

What good advice?

Don't touch it.

Do it.

You're not touching it and put your foot in the water.

You have to stop that up.

Is that piss?

No.

Okay.

Hold this guitar.

Did you piss?

Do you think I staged that electrocution?

Well, fucking everybody knows.

Fuck.

The solo for the unforgiven came about pretty much through

the trial and error and, you know, creative tension.

If there's any way we can take it up, just like a touch.

Okay.

Well, let's go back to your regular sound then.

Because I want to do the solo, I don't want to fuck around with sounds.

I'll put it through and out later.

Fuck it.

Wait.

What do you suggest?

Suggest that he leaves and comes back?

It's like he's got a fucking eat, sleep, and breathe.

This fucking solo until it's done.

Like fucking James put time into nothing.

Sounds like these deserve that.

It doesn't need fucking flash.

It's not his style.

You know, if he was going to play something like that, it might take him six months.

You can't have fucking the things that he's got

going on in his fucking life and try and do this.

But it's just hard to fucking sit here and fucking because it ain't gonna happen.

Because he's got a guy sitting down his neck.

He's got to put some time into this one.

He's not going to work on it.

Oh, so just let's slap on anything.

That's what you're saying.

So what do you suggest?

I didn't suggest anything.

After many years of experience working with some of the finest guitars,

ever to bless fucking music, one of the first things that happened when a guitar

player hasn't done his homework as he goes, a sounding worker for me man.

I just can't predict it.

I just thought I'd let you know.

The Bob Rock School of Production.

Remember what I said about the guitar players that don't do their homework?

Yeah.

Hey man, do our homework?

I do, man.

It just doesn't work.

Why not in the studio?

Yeah.

You know, it's like crack.

Oh, boo!

That doesn't do.

That doesn't do!

You know, it's fucking...

One, two, step?

You know what I mean?

It's like it should play off what's there.

Going up high is just like... D-d-d-d-d-d-d...

What are you thinking?

I guess what I'm saying is that he starts up there and then goes down.

What I'm saying is build rather than blow your load, bring everybody down,

and then build it up again.

I'm just saying, let's fucking get gutter-all and build it to a peak.

Because that's why there's the strings and all those changes at the end.

Why can't it start here and go like that?

Yeah, that's my school of thought.

Grab them, and take them to this other place,

and then really take them to a higher plateau.

Fuck man, sound like rage.

Go ahead.

Go ahead and press me.

God's permission.

Do whatever you want, Kurt.

You agree with him?

Go for it, man.

Come on, let's cut the strings.

Start working.

Cut to the chase and fucking play, okay?

Alright, man.

Now that you've warmed up, let's hear the fucking guitar player of the year solo.

It's pretty much the type of guitar player of the year.

Guitar solo I've been trying to do for us five

or six years, and I'm really proud of that.

With these songs, there was a lot more breathing space, and there was a lot.

The vocals really had to take over a lot of the songs, and

a lot of the songs were based on vocal lines and things.

Can you say fuck on the radio?

Sure.

Music

It's so close to how long.

I couldn't be much more from the heart, forever trusting you are.

And when the girls matter, it will open myself this way.

A lot of the songs really had to wait.

Oh, these words I don't just say, and everything else matters.

Trust I see, and I find in you, every day for us something new.

Open mind for a different view, and nothing else matters.

Everyone they do, never care, everyone they know.

So close, no matter how long.

I couldn't be much more from the heart.

Forever trusting me are.

And when the girls matter.

Never what they do, never care, everyone they know.

Music

I never open myself this way.

A lot of the songs we live in are we.

Only these words I don't just say, and nothing else matters.

Trust I see, and I find in you, every day for us something new.

Open mind for a different view, and nothing else matters.

Trust

Never care, everyone they say.

Never care, people give they blame.

Never care, everyone they do.

Music I'm so close, no matter how long.

I couldn't be much more from the heart.

Never mind for a different view.

Nothing else matters.

I'm so close, no matter how long.

So when I was most fearing, fearing?

You're the almighty head field.

You're a very fucking gutsy brave man, I gotta tell you.

And there's that solo.

He helped out.

As far as giving me some confidence and things,

because, you know, nothing else matters.

And nothing else.

What the hell are you doing, you know, the rest of the guys?

Oh, Snake logo is being stretched, stretching it on me.

I'm going to show it Monday.

Ooh, man, I have a long time to get in this area, huh?

Here it is, guys.

This is all to your first time.

None more.

It's final tap.

The answer is not too warm.

You know, we took all this time with the drums and guitar and everything, you know.

Okay, here's the deadline.

We got this much space left to do vocals, and it's like, go, you know?

So, we're going to do vocals first, and that's album.

Look around, man.

In late May of 91, we packed up and basically moved the operation over to A&M

Studios, finishing up some vocal tracks and doing

aughts and ends that just weren't really done yet.

We would be mixing about 75% of the time there.

The mixing process is where you take every separate individual track that you've

recorded, and basically you mix the whole thing together.

At that point in time, you can make the record sound completely fucking different.

You can fuck with everything.

Cue-wise, echo-wise, you can balance it, you can pan it, you

can put it to the left, you can put all these chambers on.

You can do all this kind of stuff that just radically voxel the whole thing,

and I think that we all had a really fine idea of just what was best for this

fucking thing that we were doing, you know, get some big fat fucking drums

in there and put layers of massive fucking rhythm

guitars and have this bass just kind of pounding.

In the middle eight guitar section, I think those

accents in the second half of it, wham-am-am-am-am.

That could be a little more accent-y.

What?

The drum, that sense?

Okay?

It's nice to have a breather there.

Yeah.

Why don't we do this one without it?

It could taste the snare thing.

It could taste the snare thing.

Yeah, yeah.

Peace, you know.

Peace, shoot it down.

It was not as loud.

The idea.

Told you to not fuck around!

Take that one out.

Which one?

That little reaver.

Only I wanna a little more kick.

Then make sure that first-ga-ga-ga-ga-ga-ga-ga is up, okay?

On the drums?

On the snare?

No, on the guitar.

Oh.

Okay, and a little more.

Probably the biggest some of your career.

Right there.

You witnessed it.

The first song I heard.

Yeah?

Cash near on the 90's.

There were a couple arguments between Lars, me and Bob.

Bob gave up too easy though.

Lars, what is your problem?

The heavy guitars aren't louder.

You walk into dynamics when they come in.

You don't sense that the heavy guitar is coming.

Right, they're not louder than the rest of the shit.

They're not loud enough.

What is the problem?

You can start by taking me.

I don't want to take the other things down because when those things were down,

when I heard them, there was nothing there.

It needs to be up.

Yeah, yeah.

You need those things need to be up during the shot.

It goes bomb, dee dee dee dee dee dee dee dee dee dee dee dee dee dee dee dee.

It's not bomb, dee dee dee dee dee dee dee dee dee dee dee dee dee dee dee.

It's the only piece of music in those shots besides the drums in the bass.

So they turn them up.

So the next section has to come in strong.

It does come in strong.

The only thing that doesn't come in strong is the guitars.

James was in the car.

Isn't that what it sounded like?

Did it sound like Metallica?

No.

It didn't.

It didn't even sound close.

The guitars aren't loud enough.

I'll let you guys duke it out on this one because, frankly, I don't give a fuck.

I'm tired of arguing.

No, you're not.

Yes, I am.

No, you're not.

I'm not tired of arguing.

I'm sick and fucking tired of arguing.

Well?

That's it.

That's it.

I think the drums should be a little louder.

I think the guitar should be a little louder.

Oh, that leads a little louder.

That's for me to say a little louder.

Let me just listen to it over and over and over again until you've found the places

where you want to boost certain things and where you want to bring voices in

different spots and strings in bigger and different things like that.

It's a very, very time consuming process.

You know, everybody wants to make sure that it sounds good as a unit.

One more song, done.

One more push added to the wall.

Mastering of a record is the process where after you've mixed down on like a digital

master, you then bake production masters and they cut the lacquers that they print

the CDs and make records and stuff like that.

It's a pretty cool process.

So how does all the equipment done sound?

It sounds really good.

It's pretty minimal.

It's just a little bit in the bottom, as in

about 100 cycles, but that varies from 2 to 2.

And it's all in the mid-range and it's all 1 or 2 dB.

Nothing in the high top?

Nope.

It's pretty in line.

It sounds really good.

It sounds really good.

When the album came out, we were kind of a little bit nervous.

I knew I was.

I didn't know how the people would react to it.

I didn't know how our fans would react to it because it's a bit different.

Then on Saturday, the band let thousands of fans at Madison Square Garden listen to

their as yet unreleased album, simply called Metallica.

Here's a taste of the band's weekend.

Metallica came to Madison Square Garden, but not to perform.

Instead, they gave away 19,000 free tickets for fans to come here and listen

to their new album, which won't be in stores till August 12th.

Do you feel ripped off that they're not going to play?

I don't think so.

Definitely.

They're taking it to a free.

Usually, listening parties are held to a room full of music

business insiders who can listen to their new product.

But tonight, everyone was invited and it probably sets

a record for being the largest listening party ever.

This is a very weird experience.

Just being in a arena like this, 15,000 people in there, whatever.

It's just like, we can't go up and play.

We're walking around your backstage.

What do we do now?

Plus, we haven't played for like 14 months and we're literally like out of shape.

The other annoying thing is that our album played the garden before we did.

Metallica is now on their way to drummer Lars' hometown of Copenhagen, Denmark.

That's where they'll kick off their European tour.

Metallica will be back on these shores for a tour in October.

What we have here is a duplicating plate and it's going to make electrical and

magnetic process to bring the music on the cassette stage.

Here's the CD monoliner that's running a new metallic release.

We're actually mauling the CD and it's highly carbonate.

It's been coating it.

We can cover it with a protective coating of poly-sphere vinyl.

This is the final stage of the CD operation package again.

This is what your

tater trains being put in on this set.

I'm

a wearable record and you're going to hear that when you pick it up, man.

We just went on, we can hear the NAC and it's going to continue in your face,

doesn't it, California?

Here in the story, it's kind of almost pandemonium.

It's going to LA soon, guys.

We'll miss you.

Peace.

So far, we're represented ourselves very well,

I think, with the videos that we released.

And there's been different feelings and different vibes from each one.

They're very unique to themselves and very individual, each one of them.

You start to become more accustomed to what takes place and all the people that

are involved and start understanding a little

bit better of what is supposed to happen.

Fifteen minute break.

When I'm out of condition, it doesn't just fuck me up, it fucks everybody else up.

Top one was less, Martin.

Top one was rad.

Earlier when we went for the first one, I got a little excited.

And I just think that was just pounding a little too hard.

And, you know, where there's life, there's hope.

Roll some.

Hey... All the videos have come out pretty cool.

You know, I got this nightmare where I'm following him, you know?

There were some pretty wild nightmares that came out that...

...did not ever be seen by anyone.

That

won't fight, we're on light.

To never, never lay.

I still, baby, don't say a word.

It's just the beast under your bed.

And you're called it in your head.

An excellent light.

And tonight... ...great of sin.

An excellent light.

And tonight... ...take my hand.

To never, never lay.

I like this, you know, the Skinner tune.

Talk fishing, that's okay, you know?

Talk business, fuck off.

You know, I like to go home.

You know, got some really good friends at home.

And they make you feel good, you know?

It's like shit, I'm home.

And, you know, no talking about the fucking business or nothing, you know?

Try and relax.

But, you know, they like me for, you know, who I am, not the fucking band shit.

The final product, the album, was far and above my expectations

from the first time I heard James and Lars's demos.

It was a feeling of accomplishment, a very big feeling of accomplishment,

and a good boost for my pride, personally, as well.

We all confide it with each other, and we're all honest with each other.

And we all realize, you know, how much just really means to all of us.

Because this whole thing, this whole Metallica

thing will be with us, you know, to our dying day.

If you had told me 10 years ago when we put out Kill'em All, that 1992 we'd have a

record that's almost 9 million copies worldwide, that, I mean, I asked you what

kind of drugs you want, and asked you if you'd share some of them with me.

Because, I mean, I don't know, let's just face it.

I mean, there wasn't a lot of people that thought this

kind of shit was going to happen with this band Metallica.

I could tell.

One, two, three, four.

Get out of here with that fucking thing.

This whole documentary is just going to be

bar pointing at the camera saying turn it off.

You're supposed to like pretend it's not healed.

For the morning.

You bad guy is very fucking useless.

So cool chasing us around.

Well, I've gotten very used to it.

You guys are fucking boring, man.

The band is over, man.

Hey, over here.

You guys are going to entertain us a little bit.

Hey, over here.

You're fucking using that whole life from your fucking long distance phone calls to

your fucking butt buddies over in Brooklyn.

I was telling you, what do you mean Brooklyn?

Is that what you guys are?

Film crew?

Oh, right when we started making this record in

October of 1990, we get a phone call from our manager.

It's like, well, maybe we should document all this shit and it's like, sure, okay.

If he had let us in, what kind of hell?

Then we would actually be going through, like, for the next year and a fucking half.

It was like maybe we would have second thoughts about it.

This is them filming.

This is them being exciting as well.

We're done with that.

We got to worry about that anymore.

Oh, you know, having you guys track us down and...

You're trying to dig into us a little bit.

It's been a cool thing, I mean, really to look back on

the stuff and see what happens and see what happens.

See how stupid we were in spots and how cool we were in others.

All right, trash, come on.

No!

Ow!

Fuckers.

You guys are fuckers assholes.

How do you feel about having a film crew following around?

Fuckers.

Well, you know.

Hey, man, we're busy making a fucking movie.

You're laying down an important kick-ass riff that you'll probably forget.

You'll never play as good again any trips over your guitar chords.

Jesus.

I hate that fucking camera, man.

I hate that camera.

What the hell?

I can't believe you're motherfuckers.

You fucking lay around and talk to me.

You're watching a fucking language.

And then when you... And then when you get... You guys get fucked up.

Hey!

You're fired!